Showing posts with label script classes. Show all posts
Showing posts with label script classes. Show all posts

The Story Engine: General Report

The Story Engine, held over two days at Darlington Arts Centre back in late February, was a tremendously enjoyable and worthwhile event. While smaller than the awesome Screenwriters’ Festival, it nevertheless makes an absolute virtue of its more modest scale, with relatively intimate workshop sessions, fine Q&As, speed-pitching sessions and an excellent line-up of writer-guests including Simon Beaufoy (Slumdog Millionaire, in picture to the left of organiser Ian Fenton, below), Lisa Holdsworth (Waterloo Road, New Tricks), James Moran (Doctor Who, Torchwood), David Lemon (Faintheart, Doctors), James Harris (self-starting comedy writer – see website), playwright David Edgar and film-maker Tina Gharavi (Ali In Wonderland, also a film-maker) plus the Writersroom North’s project manager Katherine Beacon, splendidly-named development consultant Ludo Smolski and many more.

Like the best writers’ events, The Story Engine offered plenty of opportunity to network, mingle and meet new people, as well as catch up with familiar faces (like Gavin Williams, Lara Greenway and Chris Parr). The Arts Centre is a really nice venue for an event like this, with plenty of rooms of differing sizes and, of course, the all-important bar. While being a tremendous laugh, of course, it also delivered a whole host of information. An info-buffet, if you will. Particularly evident throughout was organizer Ian’s passion and drive – as a writer himself, Ian has a lot to say, and an event for writers assembled by a writer can only be a good thing. You could tell that Ian was determined not to rest until each and every attendee had value-for-money spewing out of their ears.

TV's James Moran gave a splendid live audio commentary for his Torchwood episode Sleeper (see him in the midst of doing it, right, while engaging in a good old chin-stroke), as well as taking part in a whole slew of other sessions, including Working With An Agent, which also featured Curtis Brown's Amanda Davis, New Writing North director Claire Malcolm and Lisa Holdsworth). The Moranster ended up with vocal cords torn to shreds in a manner which only booze could rescue. During this event, our hotel bar saw the birth of the "unlaugh", which is a terrible intake of ghastly air, inspired by something deeply unamusing. Here's a delightful picture of me, Uncle Jimbo, the gorgeous Dan Turner and a bowl of salad on a shelf, which was vigorously tossed in three different ways, shortly after this snap was captured:


And for those of you understandably craving a look at that salad from a different angle, with bonus grinning bell-ends in the foreground:



Here's a simply divine photograph of David Lemon, who also got stuck into the event, appearing on various panels like New Horizons ("How is the internet changing the way we consume drama?") and My First Feature Film (about writing Faintheart, which was screened during the event, along with Slumdog Millionaire).

The Story Engine, then: a right royal blast. I fully suggest you attend the next one: I'll certainly be there. The next post, up soon, will be my one full report of a Story Engine workshop: Lisa Holdsworth's session on pitch documents. Tremendous!

October Rocks!

In fact, I'm going to start calling it Rocktober. Only in private, mind: no need to boycott this blog in protest. But it's only just struck me how downright cool October is, on a professional level. I'm writing the full-length ASK script, a short film will hopefully be made from another script of mine, and at the end of the month, I have a short story in a hardback collection to be published by Big Finish.

Titled Bernice Summerfield: The Missing Adventures (Bernice is a kind of feisty, female Indiana Jones invented by Paul Cornell, if you haven't had the pleasure of her company), the book is a special 15th anniversary tome and it's a real honour to be in the company of writers like Andrew Cartmel and Ben Aaronovitch - men who toiled over late 80s Doctor Who. What's more, it was edited by Rebecca Levene, the experienced writer/editor/genius who once oversaw Doctor Who's Virgin Books range. My story's called Prime Five and sees Bernice becoming the very unwilling subject of a new military experiment, unleashing much mayhem. Rebecca wanted a somewhat slasher movie-esque tale, and I was only too happy to try and deliver just that, although it also ended up reminiscent of The Terminator in some ways.

Oh, and thanks to the Script Factory I've won a ticket for Steve Buscemi's masterclass on October 19 as part of the London Film Festival. If you fancy it (and let's face it, the man's a legend), the ticket hotline is 020 7928 3232. See this link for full booking details.

Tell you another reason why it's so good that October rocks - helps keep my mind off the impending Red Planet Prize results. Keep busy, people: busy is good...

Wake Me Up When September Ends... Yvonne Grace's New Site...

I've decided to make the most of being freelance and flexible, so am taking September off. More specifically, I'm taking the month off from everything except scriptwriting and journalistic work for Doctor Who Magazine. Christ, I might even go on holiday. That would be mad. Looking forward to it.

A couple of months back, I attended a soap-storylining class helmed by Yvonne Grace, at London's Script Factory. While the two-day event made me doubt that soap was my natural vocation (mainly because I don't automatically warm to the idea of being in a room of writers competing to say sentences beginning with "I think..."), Yvonne's endlessly energetic tutorage was spot-on and inspirational.

Anyway, she's launched a website called Script Advice, so take a look. Here's her impressive CV...

EXPERIENCED DRAMA PRODUCER:
I have 16 years experience in television drama and have worked extensively for both ITV and the BBC. I have worked on EASTENDERS as a SCRIPT EDITOR. Trained new STORYLINERS to work on CORONATION STREET. Was SERIES SCRIPT EDITOR on the WARD for CITV which was BAFTA nominated. I PRODUCED and developed the comedy series MY DAD'S A BORING NERD for CITV which WON BEST CHILDREN'S COMEDY OF 1998. I PRODUCED the second series of HOLBY CITY FOR BBC1 and was responsible for taking this show from a 6 Million rating to a 9.6 Million rating. I EXECUTIVE PRODUCED CROSSROADS for ITV and delivered a 1.5 Million rating five days a week. I develop and write my own projects for Television and regularly teach and lecture within the media industry.

Adrian Mead Gets Me In A Headlock!

Just received an e-mail from scriptwriting guru Adrian Mead, about item number 8 in my Cheltenham coverage, in which Casarotto Ramsay agent Rachel Holroyd said she wouldn't be interested in receiving three scripts (10 mins, 30 mins and feature-length) as a submission.

In his e-mail, Adrian reminds me about the purpose of his Agents Pack Paradigm. This, together with the ICM assistant's testimonial which he adds as a PS, is very useful stuff: even though I've continued to build the pack of three scripts as Adrian suggested, conversations with a few other people had recently begun to sow seeds of doubt. However, we'd forgotten a vitally important detail. Here's what the big man says...


Hi Jason,

Hope you're well and busy. Very kind of you to post all the stuff about the Screenwriter's fest for the likes of me who were unable to get there. Thought I should clarify some stuff re your headline - Adrian Mead denied.

You are absolutely right that agents want to read as little stuff as possible and only the very best. This is goes for all agents.

However, it seems you are getting confused slightly about the approach that I outline in the HOW TO GET AN AGENT handout. The pack is not for the agent.

If you read the handout again it states very clearly that this approach is designed for a very specific purpose. It is all about getting your work past the most important person in the equation. The agent's ASSISTANT.

The approach I outline aims to make it AS EASY AS POSSIBLE for the ASSISTANT to -

1. Figure out if you are a good guy or a crazy.
2. It allows them to RAPIDLY skim a variety of your work.
3. To ensure you are not a 1 script in 10 years kind of writer and can write for a variety of genres.

If you impress the assistant they then recommend your work to their boss. At this point they will hand over the 1 PAGE PITCH DOC and FEATURE SCRIPT along with your one-page CV and very short letter. Nothing else.

The HOW TO GET AN AGENT doc was put together after talking to a variety of agents and their assistants. This is the method I used to get an agent. It has been thoroughly "road tested" and approved and has been successful for a number of writers I know. Of course you also need talent!

If anyone would like a copy of the HOW TO GET AN AGENT HANDOUT I'll happily send them one. Contact me at info@meadkerr.com

Below is the response from an assistant that I got to look over the document. Makes interesting reading.

Best wishes,
Adrian Mead

Hi,

I must confess it is very funny to see this from this side of the fence so to speak. It is also rings very true, everything that you have mentioned.

What they have to do, is put themselves in the position of the assistant; imagine that they are sitting at the desk having just been given a enormous task list to compliment the already long to do list, and then have someone call who will only make your life harder... then the other line goes and they need to answer that etc etc.

I would suggest, the key is, somehow being remembered on the phone whilst still keeping the phone call brief. There is nothing more annoying than someone "hanging around" on the phone, outstaying their welcome and asking for advice on how they should build their career. Nor is it clever to be selective as a means of trying to sound important and say that you're only pursuing a couple of agents that you have hand picked. This is transparent and ultimately makes an assistant think the person is an idiot. Avoid comments like: "but this script really is good", "this will make millions", "i have interest in the script from a couple of investors/the Weinsteins/a producer".

In short, like you so cleary point out, be as little of an irritation as possible, somehow try and make the conversation a memorable one, and reek of polished prowess, whilst never actually stating that this might be the case. It will be comforting for them to know how people really can, and do, stick out as being different, more interesting and quite possibly very good screenwriters just from how they deal with the initial call. There are lots of very crazy people, some middle of the road people and a few that rise above both. Those scripts might not get read, but the treatments certainly will - and if it is good, then the script could well get read.

It should be noted that most of the reading takes place after-hours on "home time", so on top of what already needs to be read, it really has to be a cracking first 10 pages to persuade an assistant to carry on.

Hope this helps.

An assistant at ICM

Stress

What a day. Literally five or six different things going on at once. Magazine articles, interviews to do, TV preview discs to watch and write up, scripts to read, scripts to write... And y'know what? I love it, despite the stress involved. This lunchtime, met an acquaintance on the streets of Camden who suggested we go for a pint. As much as part of me would love to start lounging around in beer gardens, lazily seeing in the summer, the drive inside me strongly suggests that I'll be forced to shrewdly pick and choose my moments of boozy release over the next few months. Maybe even years.

Tomorrow and Thursday, I'm attending The Script Factory's Soap Storylining Class, so will now spend the evening reclining and preparing for it. We've been sent a document outlining an imaginary soap, complete with detailed character notes. Our advance task is to come up with a heap of potential storylines. Sounds like fun. So let's get going...

Living Spirit's Hollywood Class

Hello you! May I say, you're looking horrendously attractive today?

Yesterday, I attended my first Living Spirit class, about making it in Hollywood from a UK perspective. The low attendance - roughly eleven people - was fine by me in terms of opportunities to ask questions and get a li'l one-on-one time, although Living Spirit had understandably expected much more from a one-off class hosted by film-makers Genevieve Jolliffe (UK) and Andrew Zinnes (US).

I'll post some specific notes in the fullness of time, if folks are interested. In the meantime, I'll say that it was definitely a worthwhile day. Genevieve and Andrew are an instantly likeable and engaging couple, willing to share pretty much every morsel of information - right down to Gen's personal circumstances and tactics when she made the big move to Los Angeles. They also detailed the loooooong development process of their screenplay Absolute Angels, which spent at least two years hopping from studio and studio and remains unproduced.

I would certainly attend another Living Spirit class: mainman Chris Jones' unstoppable forward-drive and extremely loud voice are infectious. For me, the information dished out was partly a kind of refresher course, which I needed in order to kickstart my Hollywood strategy, although I definitely learnt plenty of new things.

One thing I'm starting to really feel, though, from classes and events I'm attending lately: it's time for me to step it all up a gear, in terms of how much I'm writing. It's all too easy to settle back and (a) listen to other people talking about the process and (b) blog about the process yourself. Any successful writer will tell you how their fingers bled, their friends gave up on them and weekends just whizzed past, like they were any other day. That's the kind of joyous misery I need to start inflicting on myself...

Is anyone else...

... going to either of these events:

(1) Living Spirit's one-day class tomorrow, about breaking into Hollywood whilst being UK-based?

(2) Channel 4's Make 'Em Laugh Q&A session next Tuesday, which I've been selected for (hooray)?

Hmmm?

Power Of Three: just to clarify...

A fellow writer asked me about Adrian Mead's Power Of Three system, so I assume other people might be interested. There's also a matter in which I'm unclear. So here we go...

In Adrian's excellent London day-class, a couple of months back, he gave us a template for progressing and polishing your script using other people's critiques. The Power Of Three system involves giving the first draft (or whenever you're ready to show it, in my own view) to three readers, who give feedback. You act on it - especially on points over which there is a consensus - then give the second draft to three more readers. Then the third draft goes to yet more readers. Bingo! It shines like a new fifty pence piece.

A fellow writer asked me how much notes/coverage these Power Of Three readers give, and I didn't have an answer. In the first round which I just did, the notes/coverage varied considerably. All were extremely useful, I'm pleased to say, but the actual volume and detail really differed from person to person. So I'm tempted to say it's really a matter of (a) how much time people are willing or able to spend; and/or perhaps (b) how much time they are inspired to spend on writing notes.

I hunger for views on this. Feed my face.

Soap

Turns out both Stuart Perry and I are attending The Script Factory's Soap Storylining class in London on June 20 and 21! This is great news, as we've already met at the Brighton event detailed a few posts back. Anyone else fancy joining? It's only eight people per class, and I don't know if they're fully subscribed yet.

As I probably said already, I mainly want to do this class to see how I like it. While I definitely want to write drama serials and series - mainly hard-edged and dark at that - I need to know if soap writing should or could be an option for me.

David Bishop is attending the May class, so I look forward to hearing his advance word. Let's hope he doesn't come out weeping and bleeding from the ears.

There are some very interesting links in Danny Stack's latest post, if you haven't already seen them...

24 and The Shield


24 is almost literally what I've been watching all day. My man-flu had worsened when I woke up this morning, so I resigned myself to lying around being ill. 24 was one of those shows I knew I was going to like, but never got around to watching. So I recently started Season One and today watched from something like 8am (in the show!) through til 7pm. It's an amazing piece of work, which still strikes me as fresh five years after its original broadcast, despite the potentially distracting and gimmicky use of split-screen. I'll avoid making the obvious observations (such as it not being in true real-time, thanks to ad breaks... whoops, there I go, making an observation), for fear of repeating five-year-old critiques.

While watching Jack Bauer endure the longest day of his life, I was (a) really admiring the writers' craft in constructing a 24-hour story arc and (b) thinking how much I'd love to do that. Not necessarily a 24-hour arc, you understand, but a series arc. I've already had a go at it with my returning drama series idea and really enjoyed the process. While soap-storylining is obviously a different matter, I'm looking forward to attending The Script Factory's Soap Storylining class in June, to see how much I like that whole scenario, and how much aptitude I have for it.

The structure of 24's Season One is interesting. Bear in mind that I haven't seen it all yet, and that a very minor spoiler is about to follow if you haven't seen the first 19-or-so episodes, but the story reaches a real climax at the midway point - almost to the extent that you wonder how the season can continue. You can see the committee of writers with their whiteboard and a graph showing how the Big Climax arrives around 12pm, then it's time to take it allllll the way back down and build it back up for the show's Big Big Climax. Well, I'm only assuming it's Big Big, but have every confidence in the show. Can't wait to plough through the following four seasons either...

Viewing with a writer's eye, it was a pleasure to analyse how 24's scenes were constructed. One thing it excels at is subverting expectation, which seems key to most gripping drama: never end a scene in the way the viewer imagines you will. 24 does this continually, whether it's a Big Twist like someone turning out to be a Bad Guy/Gal, or a Small Twist like a character reacting in an unexpecting fashion or coming up with an unforseen piece of information which sends the plot spinning off in a new direction.

All of which reminds me of one of my very favourite TV shows, The Shield. I'm not even especially a big fan of cop shows, but with The Shield it doesn't matter. It's all about great characters, rapid-fire pacing and plotting, twists to send you reeling, shocking turns of events and - perhaps most of all - moral confusion. People really aren't good or bad on The Shield: the main character Vic Mackey is anything but an angel, but we root for him, often despite ourselves. That's a really hard thing to pull off in any fiction. It's partly down to Michael Chiklis' remarkably charismatic performance, but credit also has to be lavished on the writers. And of course those are legion on The Shield: check out a great behind-the-scenes featurette on the Region 1 Season Three box-set, which shows the team working on each episode's seven different plotlines, labelled from A to G in order of importance, and weaving them together with the aid of whiteboards a-go-go.

If you haven't seen The Shield before, I urge you to find a way to watch just the first ever episode. If that doesn't hook you, I'll set fire to my legs (certain terms and conditions apply). It is, in fact, a textbook example of how to grab a viewer and feed them some dramatic crack. The Shield is like a virus: a friend persuaded me to watch the first episode, then I did the same to a couple of friends who became immediately addicted and were soon Jonesing for more of my DVD box-sets! Be warned, though: The Shield doesn't pull its punches. At several points, I literally exclaimed, "Oh. My. God!". In all honesty, I still haven't got over certain moments. And what more can you possibly ask from drama?

PS At one point in tonight's instalment of BBC1's The Apprentice, part of the soundtrack from John Carpenter's The Thing was used. Did anyone else hear this, or am I just high on Day Nurse?

Illness = Slowness... Channel 4 On Demand... Script Frenzy Month

There I was, earlier today, thinking that being ill would help me focus. Pah! I got some journalistic work done, then turned my attention to the second draft of Doomsayer. Made my red-pen corrections, then set about bolstering it in general. Thinking about it, I did a fair bit, but not enough. It's never enough... and I'm starting to feel a slight doubt about this script. Just a nagging kinda 'Does it all hang together?' deal. Maybe that means it's time to get the first Power Of Three people to read it pretty soon...

Channel 4's On Demand service is a bold, forward-thinking idea in principle. You download software which, in theory, lets you (re)watch certain C4 shows from the last seven days for free (unless the show you want is more than seven days old, or a movie, in which case there's a small charge). Problem is, it seems glitchy and primitive, from where I'm sitting. On my first attempt, I failed to stream Peep Show ep 4, then managed to download it and watched it fine. This evening, I've failed to even download Peep Show ep 5. A regrettable business all 'round. C4 admit there are problems with it: allegedly due to the number of users. More likely, it's just full of the same amount of errors and shortfalls as any other Beta software.

Don't know if you've heard about the annual US event National Novel Writing Month, often abbreviated to NaNoWriMo. Its name says it all: each November, thousands of people across the globe pledge to write a novel within one month. Thanks to the motivation which naturally comes from knowing others are suffering along with you, most of them pass the finishing line too. I've never taken part, although I have availed myself of the very handy forum on the site, in which you can ask people for help with general knowledge-issues, ie makes of American car, or how fire behaves.

Anyway, the NaNoWriMo people are expanding this year. Say hello to Script Frenzy! Next month... yes, you guessed it, thousands of people will attempt to write a movie screenplay. So if you need that motivational push to get started on your feature script, or TV feature-length script, then this could be it. And even if you're not interested, it's worth going to their home page to have fun using their Random Plot Generator...

Restless In Camden... The Script Factory...

What a strangely dissatisfying Bank Holiday weekend it's been. Typically for me, couldn't decide whether to fully relax or fully work, so ended up doing a half-arsed mish-mash of the two. As a result, damn it all, I've decided to treat today as a work-day. Think I'll enjoy it much more than lying around, pretending to chill out (hell, I don't even like the expression 'chill out', let alone have the ability to do it), when in fact I've got journalistic deadlines and the urge to write my own stuff billowing around my brain. Clearly, my new Office Hours Regime hasn't yet made me feel okay about switching off...

Just signed up with The Script Factory at http://www.thescriptfactory.co.uk. Is anyone else a member? If so, how'd you like them Script Factory apples?

Probably should've asked before joining, but I am, after all, an impulsive buffoon.

Adrian Mead's next seminar... and a matter of geography

I got a great deal out of Adrian's most recent class, about breaking into TV writing. In fact, it rather influenced me to start this blog. So I have no hesitation in plugging his next seminar, which concerns being a screenwriter living outside TV's London nerve centre. First, though, allow me a few paragraphs of babbling like a brook.

I'm lucky enough to live in London, which is part of the reason my thoughts and ambitions have really switched to UK TV-writing, this year. In 2006, I made a pretty concerted effort to get a screenplay produced in Hollywood, and came out with an option. That's great stuff and hopefully it will come to something.

This February, though, my flat lease expired. I had to think about where I wanted to move to. After considering putting all my stuff in storage and living in LA for a couple of months, I eventually hit upon a realisation: I don't want to live in Hollywood, as much as I love visiting the place and have a real ambition to write a produced American horror movie. I do want to live in London, however. So why not make the most of the wealth of industry folk who thrive here? Not to mention the fact that there are so many shows I'd love to write for: Doctor Who, Waking The Dead, Torchwood, Rebus, Murphy's Law... plus various ideas of my own which I'd like to see made.

So right now, and with help from Adrian's last seminar, I'm feeling very focused. Which is quite an achievement for my annoyingly Gemini-esque brain (I'm not into astrology at all, but I am so a Gemini). London beware. All I have to do is get this flat-move out of the way and the capital will cower. Yes. Anyway, enough of my yakkin'... here's the info about Adrian's next lecture...

The Long Distance Screen Writer

You will meet a panel of four Scottish-based writers with credits on EastEnders, Waking The Dead, River City, The Street, Holby City, Where The Heart Is, Taggart, The Bill, Monarch Of The Glen and numerous other film, TV and radio projects. They will discuss how they got started and how you too can build a career as a screenwriter outside London.

You will also hear how they deal with script editors, tight deadlines and the challenges and joys of working as a freelancer. This is also a unique opportunity for you to learn how professional writers manage the baalnce between family and career, whilst working in such a highly competitive industry.

For more details contact us or visit our web site http://www.meadkerr.com

The Long Distance Screen Writer
Sat 9th June St Columba's By The Castle, Johnston Terrace, Edinburgh
10.00 am - 4.30pm
COST £55 (inc VAT and light
lunch) CONTACT: info@meadkerr.com or 0131 554 4539

Let's kick off with a recommendation...

Splendid, splendid. A new blog. Just what the world needs. I might be a little way off yet from being a full-time professional screenwriter, but the intent is most certainly there. These days, it seems a blog is a useful tool for raising your profile. So here I am.

I'm not presently the man to ask for solid-gold screenwriting advice - especially not when it comes to the world of TV, which I'm relatively new to exploring - but I do have a great recommendation for you, when it comes to lectures.

Yesterday, I attended a lecture by the screenwriter Adrian Mead about breaking into TV writing. Being the kind of guy who needs a little structure in his life, I can fully recommend this day-course for hard facts, bullet-pointed Things You Must Do, Things You Definitely Mustn't Do and all manner of useful, motivational stuff. I also appreciated the lack of dreaded 'exercises' and fluffy nonsense - this is all very practical, understandable stuff. Adrian's also an instantly likeable character, who virtually chanced into screenwriting after bouts of bouncer work and hairdressing. Nice combination.

So here's the man's website: http://www.meadkerr.com. Keep an eye on it, if you could do with someone sorting your life out when it comes to taking that TV-scribbling plunge...